primeiro ato
matheus parizi
ficção / HD / 19' / 2019
Dois estudantes de teatro tentam convencer seus colegas a deixar a sala de aula e se juntar aos protestos contra o desmonte das políticas culturais no Brasil.
Festival Internacional de Cinema de Rotterdam | Ammodo Tiger Short Competition (Holanda 2019)
Cine Tamoio | Menção Honrosa (Brasil 2019)
IndieLisboa | Herói Independente | Brasil em Transe (Portugal 2019)
BFI London Film Festival | Experimenta - Strategies of Refusal (Inglaterra 2019)
Filmfest Dresden | Competição (Alemanha 2020)
Festival Short Waves PoznaÅ„ | Competição (Polônia 2020)
Festival de Curtas de Tenerife | Competição (Espanha 2019)
Cine Ceará | Competição Nacional (Brasil 2019)
Festival de Cinema de Madurai | Competição (Índia 2019)
Mostra de Cinema de Gostoso | Competição Nacional (Brasil 2019)
SHORT RIGA | Competição Internacional de Curtas Metragens (Letónia 2019)
Festival Internacional de Curtas Metragens CINEMAFORUM | Competição Principal (Polónia 2019)
Festival de Cinema de Duhok | Competição Internacional (Iraqui Kurdistan 2019)
Festival de Cinema Zuma | Competição (Nigéria 2019)
Festival de Cinema de Caruaru | Competição Nacional Caruaru (Brasil 2019)
Festival de Curtas Metragens de Glasgow | Brasil: luto pra nós é verbo (Escócia 2019)
Festival Internacional de Cinema de Dallas | Competição de Curtas Narrativas (EUA 2019)
Festival Internacional de Cinema do Uruguai | Competição Ibero-Americana (Uruguai 2019)
Festival de Cinema de Cambuquira | Competição Nacional (Brasil 2019)
Go Short - Festival Internacional de Curtas Metragens Nijmegen | Generations (Netherlands 2021)
ENTRETODOS | Festival de Curtas e Direitos Humanos de SP (Brasil 2019)
Lviv International Short Film Festival Wiz-Art Film | Competição (Ucrânia 2020)
Goiânia Mostra Curtas | Competição (Brasil 2019)
Primavera do Cine | Curtas Lusófonos (Espanha 2019)
My Film Ideology | Programa de Apoio ao Jovem Realizador (China 2021)
Festival de Cinema Gent | Competição Internacional de Curtas Metragens (Bélgica 2019)
Exground Filmfest | Focus Brazil (Alemanha 2019)
Kyiv International Short Film Festival | Radical arts_acts (Ucrânia 2019)
Dotdotdot | ANATOMY OF A PROTEST (Austria 2021)
com Lui Seixas, Jorge Neto, Alvise Camozzi, Julia Pedreira Monteiro, Clayton Nascimento, Camilla Ferreira, Barbara Lamounier, Leonardo de Sá, Esther Goldberg, Jamile Nunes, Bruno Camargo | direção Matheus Parizi | roteiro Matheus Parizi e Juliana Lobo | dir de fotografia Flora Dias | montador Tomás von der Osten | produtores Paula Pripas, Matheus Parizi | ass direção Lara Lima | dir produção Marina Couto | ass camera Mirrah Iañes | sonidistas Jonathan Macías, Tales Manfrinato | ass produção Mirtes Santana | desenho de som/mix Jonathan Macías | compositor Bateria Ritmo da Luta - UJS | correção de cor Alexandre Cristófaro | ass correção de cor Brunno Schiavon | direção de arte Juliana Lobo | ass direção de arte Luiza Ascava | maquiagem Renata Rodrigues, Simone Batata, Vanessa Barone | consultoria de roteiro Thaís Fujinaga | ass de casting Esther Goldberg
Matheus Parizi is a Brazilian scriptwriter and director working in film, streaming and television. His films have been screened, discussed and awarded at festivals and institutions that include the Venice Film Festival, Rotterdam IFFR, London BFI, IndieLisboa, Tiradentes, Havana, Aspen, the Museum of Fine Arts Boston, Yale, Instituto Moreira Salles and the Cinemateca Uruguaia. He created and was one of the writers/directors of three three-season comedy series No Divã do Dr. Kurtzman (2013-2015 Canal Brasil) and has worked as a writer and diretor in different streaming series.
Matheus also works as a script consultant, acting coach and teacher for scriptwriting, directing and acting. He holds a B.A. in Performing Arts | Theatre major from PUC-SP, with emphasis in Stanislavski's system, and was trained in elements from Adler, Meisner and Strasberg (NYC).
​
His short films include Instruções para chorar (2023), Primeiro Ato (2019), Bruma (2017) and O Afinador (2012). In 2019, at the invitation of the Mostra Internacional de Teatro de São Paulo for a commissioned work, Matheus directed the film-essay Enquanto falávamos sobre performatividades políticas eu ocasionalmente roubava vozes e rostos.
Matheus is an alumni of Torino Film Lab’s advanced script development program Script & Pitch. He is a recipient of the Núcleos Criativos Feature Film Script Development Fund (2016), the Prêmio Estímulo Short Film Production Fund Award (2015), the Brazilian Ministry of Culture’s Exchange Fund (2013), was awarded with the RPT2 Channel Acquisition Award (2012) and received honourable mentions from the SIGNIS Award (2012), the Los Angeles International Latino Film Festival (2013) and the Cine Tamoio (2019). His works also have been nominated for the Youtube Award (2012) and the Golden Firebird Award (2013).
Currently, he post-produces his latest short-film, as he develops a new series and finances his first feature-length. You can occasionally catch him doing stand up comedy as a hobbie either in Berlin or in São Paulo.
-
Script breakdown and analysis: beats, motivations and beyond.
-
The silence for the screen: character's thinking and introspection.
-
Subtext.
-
Accurate adjustments to lines delivery between takes.
-
Best practices for characters arch when shooting out of order
-
Two or three moments from the same character, to craft character’s arch.
-
Feedback on filmed exercise scenes.
-
Pro tips for shooting with time pressure: quick adjustments for credible delivery of lines; quick physical detailing for naturalism.
-
Contemporary scripts are used, and the contemporary naturalist acting now on demand.
-
Precise naturalist acting.
This course uses a workshop dynamic and participants witness everything that’s taught to each person, benefiting from everything.
​
Yet, stage actors transitioning into film and TV will specially benefit from:
Focusing on the practical aspects of being an actor on set.
No use of monologues. We’ll mix practicing climatic scenes and less important, more mundane, scenes too, to practice subtlety (the roles you’ll probably get hired for in the beginning).
A quick access to forgetting the camera and getting comfortable.
Understanding through feedback how small to make delivery lines for naturalism and how much visually is enough for the camera (“doing less”). Exercising the silence in the craftsmanship of the camera actor.
Exercising consistency through multiple takes (in case tech problems with camera or sound happened).
Developing the skill of shooting scenes out of chronological order, via mapping out the arch of the character and exercising how to activate the concentration/set up the emotional place to attack a scene.
Getting used to having people around you on set, while remaining focused, acting for the camera and not for them.
Precision with technical aspects: speaking while doing actions while using the intention Feel confident that you'll be able to handle whats coming at you if you shoot something or go to an audition, practical tools so that you can break down a scene, trace objectives, beats, actions, motivations and so forth.
Learning how to work with anybody but specially with difficult directors or partners.
Directors will specially benefit from these aspects of the course:
Understanding actors and their needs better. Learning concrete tools to communicate with actors and achieve more precise results for the screen.
Learning how to have script reading sessions with actors and listen to their interpretation of the script.
Fomenting imagination, and creating a safe space for people to share ideas (ego control). Removing any friction that doesn't allow the actors to perform and feel comfortable.
Learning when to transition from listening to leading, losing shyness and clearly communicating your vision (the set needs a director with a clear vision).
Understanding prep with actors before shoot. And how to apply what was prepped on set, maximising usage of shooting time.
Better communication skills, analysing with precision and responding. Knowing what kind of language and tone to use, and what to talk about, when communicating adjustments - what immediate results you get when you speak in certain ways.
Managing dialogue delivery, ao that actors own their lines.
Refining and improving the roles.
Creating time for actors when the shooting schedule is tight.
Estimating the ideal rehearsal time per script page, but also making it work when having the ideal time is not possible (so often the case).
Learning how to make prepped and tweaked performances still look raw and spontaneous.
Learning how to improve the chemistry between actors.
Managing to have beautiful quality without too many takes.
For series and TV, learning to work fast and be able to make quick changes in the acting.
Actors with more set experience will specially benefit from:
Learning how to add more colours to lines (avoid line repetition fatigue), learn how to mix it up, exercising in depth the technique of action verbs, which also helps to tweak acting fast between takes.
Having the opportunity to be in the directors side and learn from that.
Working on how to transition from smaller beats to bigger beats smoothly.
Pro tips on how to find the body of a character you’re playing.
Deepening ability to listen to your scene partner (and react).
Better understanding of when the director is under stress. Practicing how to take directions, or criticism, while exercising who how to remaining open and not take it personal.
Practicing routines to feel more comfortable with your craft as an actor, with or without feedback from who’s directing, trusting your director and yourself.
Going from resistance to freedom.
[Matheus Parizi taught two online editions of the course during the pandemic at Instituto de Cinema]
“I was part of the first class taught by Matheus Parizi, which added valuable lessons to my artistic career. I recommend it to all professionals who want to pursue a career in directing or to actors who want to gain new knowledge geared towards the audiovisual industry. Long life!!!”
​
Leo Moreira Sá (Renato in HBO series Psi)
Trans actor, artivist, screenwriter, lighting designer